A dazzling and bittersweet romantic drama from acclaimed filmmaker Mia Hansen-Løve (Eden, Things to Come), BERGMAN ISLAND tells the story of two couples spending their summer on the breathtaking island of Fårö, where revered filmmaker Ingmar Bergman lived and worked for over forty years.
Chris (Vicky Krieps) and Tony (Tim Roth) are both filmmakers, hoping to find inspiration for their next films as they retreat to the island to work on their screenplays. Meanwhile Amy (Mia Wasikowska) and Joseph (Anders Danielsen Lie), who were once lovers, are staying on Fårö to celebrate the wedding of their friend. As the summer passes by, the lines between reality and fiction become increasingly blurred as reminders of Bergman’s legacy playfully influence both stories.
Set against the stunning landscape of the Swedish island, Hansen-Løve’s latest feature is laced with characteristically semi-autobiographical elements, and is both a mischievous and elegant contemplation of love, memory and the journey of the creative process.
The following performances are captioned for the deaf and Hard Of Hearing: June 27 at 2.30pm and June 29 at 7.30pm.
Showing in The Other Screen. Films in The Other Screen have a shorter trailer reel of five minutes.
WILD MEN is a razor-sharp, Coen Brothers-esque, black comedy.
Martin’s version of a mid-life crisis looks a little different than most. Hilariously ill-equipped to live off the land and yet clad in Viking-like animal skins, he wanders the forest in a misguided attempt to regain his independence. But when he crosses paths with an injured drug dealer, he finds an unlikely ally in his quest for “manhood.” The duo begin a beautiful friendship spent evading police, criminals, and the cold hard reality which the world seeks to bring them back to. Premiering at Tribeca Film Festival, WILD MEN is an original take on a comedic crime caper.
Released with the support of the BFI, awarding funds from the National Lottery.
Mike Hodges' gritty 1971 classic has been restored in 4K for the first time by the BFI.
GET CARTER has become acknowledged as one of the greats of British cinema. Jack Carter (Caine), a London gangster, travels to Newcastle after his brother is killed in a supposed accident, but Carter suspects that things may not be as they seem. Using his documentary, realist aesthetic, Hodges’ first feature is a violent, uncompromising classic of the genre, featuring outstanding performances from Caine and Hendry, not to mention Newcastle itself, and is also notable for the extraordinarily quick turnaround from the book being published and the film being made (eight months).
+ Q&A with the film's director, Charlie Shackleton live on-stage.
Fragments of hundreds of films from around the world bring together an ensemble cast of actors with one thing in common: each is no longer alive. Together, they contend with a fragile existence lived solely through these traces of their work.
THE AFTERLIGHT exists as a single 35mm film print. Further eroding every time it screens, the film is a living document of its life in circulation. Eventually it will disappear entirely.
We're delighted to welcome Charlie Shackleton to King Street for a Q&A following our screening of his film. We're his second stop on his UK and Ireland tour, following the film's first screening at BFI Southbank on June 29.
Gaspar Noé's VORTEX is a tender and undeniably powerful exploration of loneliness and love. Having debuted to widespread acclaim at the Cannes Film Festival, it focuses on an elderly couple (played by Françoise Lebrun and Dario Argento) who spend their days in a Paris apartment.
Both love and care for each other, but are grappling with the early stages of dementia. Presented in split-screen, we follow the couple as they go about their daily routines both together and alone.
As everyday tasks become more challenging, forgetfulness shifts to something more troubling and their son (Alex Lutz) struggles to care for them as they enter a vortex of mental and physical degeneration.
Compelling and moving in equal measure, this is a departure for Noé – but in terms of scope and ambition, it is one of his finest works to date.
Showing for one day only! Our Vintage Sundays continue with Lionel Jefferies' timeless adaptation of E Nesbit's classic novel.
Based on the novel by E Nesbit, written and directed by Lionel Jeffries and starring Jenny Agutter, Bernard Cribbins, Sally Thomsett, Gary Warren, Dinah Sheridan, and William Mervyn.
Featured in the BFI Top 100 British Films of all time, THE RAILWAY CHILDREN has been an inspiration to old and young audiences alike since its initial release in 1970.
When Father is mysteriously taken away by the police one night, Bobbie, Phyllis, and Peter move to the country with Mother to start a new, more modest life. The children while away the summer days playing on the local railway, where they make the acquaintance of station porter Mr. Perks and the Old Gentleman, who waves to them from his 1st Class carriage every morning. In awe of the great steam locomotives that thunder down the track, the children’s resourcefulness is put to great use: one day preventing a derailment, the next saving an injured cross country runner; all whilst they await the return of their beloved Father.
During the economic boom of the 1960s, Europe’s highest building is being built in Italy’s prosperous North. At the other end of the country, young speleologists explore Europe’s deepest cave in the untouched Calabrian hinterland. The bottom of the Bifurto Abyss, 700 metres below Earth, is reached for the first time. The intruders’ venture goes unnoticed by the inhabitants of a small neighbouring village, but not by the old shepherd of the Pollino plateau whose solitary life begins to interweave with the group’s journey. IL BUCO chronicles a visit through unknown depths of life and nature and parallels two great voyages to the interior.
The wild world of adolescence has rarely been captured with as sharp an observational eye as in this refreshingly smart, frank spin on the teen comedy by director Amy Heckerling and screenwriter Cameron Crowe—for each of whom it kicked off a hugely successful film career. Based on Crowe’s experiences going undercover as a student at a Southern California high school,FAST TIMES AT RIDGEMONT HIGH blends hormone-fueled hilarity with an almost sociological examination of the 1980s teenage experience: the shopping mall hangouts, fast-food jobs, buzzkill teachers, awkward dates, and first experiences of love and sex. This pop-culture touchstone launched to stardom practically an entire cast of unknowns—including Jennifer Jason Leigh, Phoebe Cates, Judge Reinhold, Forest Whitaker, Anthony Edwards, Eric Stoltz, and Sean Penn as stoner icon Jeff Spicoli—and broke new ground in its raw yet sensitive depiction of the realities of coming of age.
A mesmerizing fable of long-repressed secrets and awakening memories from the mysterious and oneiric world of Lucile Hadzihalilovic (INNOCENCE) making her debut feature in the English language.
Somewhere in Europe, mid-20th century. Albert is employed to look after Mia, a girl with teeth of ice. Mia never leaves their apartment, where the shutters are always closed. The telephone rings regularly and the Master enquires after Mia’s wellbeing. Until the day Albert is instructed that he must prepare the child to leave...
In WINGS OF DESIRE, director Wim Wenders' most metaphysical work, a guardian angel desires nothing more than to be human.
Every day, Dammiel (Bruno Ganz, THE AMERICAN FRIEND, DOWNFALL) listens to the thoughts of mortals who play their lives out on the streets of West Berlin. He finds himself entranced by a trapeze artist (Solveig Dommartin, UNTIL THE END OF THE WORLD) whose eloquent expression of her doubts and fears makes him yearn for a life where he can feel happiness and love.
Like Michael Powell's A MATTER OF LIFE AND DEATH, the afterlife in WINGS OF DESIRE is a world in monochrome. Only the living can see in full colour and it is their lives, with their moments of sorrow and joy, that Wim Wenders captures so eloquently in this singularly original film that was co-written with Peter Handke (THE GOALKEEPER'S FEAR OF THE PENALTY KICK, WRONG MOVE).
Winner of the Best Director prize at the 1987 Cannes Film Festival, WINGS OF DESIRE is both a paean to Germany’s capital and a rumination on human existence, and remains one of the most vital films ever made.
New 4K restoration with 5.1 sound mix provided by the Wim Wenders Foundation and supervised by Wim and Donata Wenders.
The Doctor's only cinematic adventures are rereleased into cinemas, remastered in glorious 4K, and we have them for a very special double-bill on July 10 at 3pm.
Tickets on-sale from June 22.
Released initially in 1965 and 1966 respectively and directed by Gordon Flemyng, these two films, shot in glorious Technicolor, boast a beloved cast including Peter Cushing as the Timelord, ably supported by Bernard Cribbins, Roberta Tovey, Roy Castle and Jennie Linden.
DR. WHO & THE DALEKS (1965) was the first big screen film adaptation of British TV’s most iconic sci-fi hero, and the first time Doctor Who was ever seen in colour. Having invented the TARDIS, a strange machine capable of travelling into other dimensions, the Doctor and his three young accomplices set forth on a quest through time and space. Their journey takes them into the dark, undiscovered depths of the universe and to the planet of Skaro, a primitive world devastated by nuclear war and populated by two warring species, a peaceful tribe known as Thals and a life form heavily mutated by radiation, encased in protective machines, a merciless force of destruction known as The Daleks!
The second film, DALEKS’ INVASION EARTH 2150 A.D sees Cushing return to the big screen – the future of Planet Earth now belongs to The Daleks, but deep within the London Underground a group of resistance freedom fighters are planning an attack. Can The Doctor help them succeed in destroying their extra-terrestrial enemies and take back control of Earth?
Please note: there will be an interval of 15 minutes between each film.
Nancy Stokes (Emma Thompson), a retired schoolteacher and widow, is yearning for some adventure, some human connection, and some sex. Good sex. In an anonymous hotel room, Nancy greets a sex worker named Leo Grande (Daryl McCormack). He looks every bit as good as his picture, but what Nancy wasn’t expecting was conversation as well as fornication – and over the course of three rendezvous, the power dynamics shift and their well-worn masks begin to slip.
An uplifting comedy that challenges expectations, GOOD LUCK TO YOU, LEO GRANDE is a hilarious, heartwarming, sex-positive tale of empowerment and self-discovery.
When Pete’s old university friends invite him to celebrate his birthday, and their 10-year reunion, with a weekend away in a grand country mansion, he’s looking forward to reliving the glory days. But when he arrives, Pete can’t seem to do anything right, and there are many new inside jokes he isn’t in on. And why have his friends invited a random stranger from the local pub to join the party? Andrew Gaynord’s debut feature, written by Tom Palmer and Tom Stourton (who also stars as Pete) playfully taps into contemporary social anxiety, and the escalating tension and hilarity will have you joyfully squirming in your seat. An outstanding British debut from three names to remember.
Winner: Audience Award, Hot Docs Night Vision.
Kim Cannon Arm is not your average grandpa. With killer hand-eye coordination and a mean mullet, he's a legendary fixture at Copenhagen's Bip Bip Bar, and renowned for playing the 80s arcade game Gyruss for 49 hours straight on a single coin. With help from his buddies at the bar, a community of heroic
outsiders who support one another no matter what, Kim attempts to obliterate his previous record and play for 100 consecutive hours (four days!).
Dense with nerdy narration and deep thoughts, quantum physics and pattern recognition, this quest follows Kim and the gang as they apply their collective knowledge to the task at hand—leaving their mark on the world and paying tribute to a fallen friend. In this quirky comedy, filmmaker Mads Hedegaard provides a surprisingly philosophical look at legendary world records, quirky hairdos, the importance of community, and what a real hero looks like.
Jodie Comer (KILLING EVE) makes her West End debut in the UK premiere of Suzie Miller’s award-winning play.
Tessa is a young, brilliant barrister. She has worked her way up from working class origins to be at the top of her game; defending; cross examining and winning. An unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge.
Prima Facie takes us to the heart of where emotion and experience collide with the rules of the game.
Justin Martin directs this solo tour de force, captured live from the intimate Harold Pinter Theatre in London’s West End.
Pompo is a talented and gutsy producer in “Nyallywood,” the movie-making capital of the world. Although she’s known for B-movies, one day Pompo tells her movie-loving but apprehensive assistant Gene that he will direct her next script: a delicate drama about a tormented artistic genius, starring the legendary and Brando-esque actor Martin Braddock, and a young actress seeking her first break. But when the production heads towards chaos, can Gene rise to Pompo’s challenge, and succeed as a first-time director?
Directed by veteran animator Takayuki Hirao and produced by brand-new animation studio CLAP, POMPO THE CINEPHILE is a rollicking, exuberant ode to the power of the movies, and the joys and heartbreak of the creative process, as a new director and his team devote their lives to the pursuit of a “masterpiece.”
These performances all play in their original Japanese dialogue with English subtitles.
In 1977, THE AMERICAN FRIEND won the German Critics Prize as well as gold in two categories of the German Film Prize and is now considered a cult film. Wenders adapted Patricia Highsmith’s novel Ripley’s Game for the film.
Jonathan Zimmermann (Bruno Ganz) believes that he will soon die of leukemia. The unscrupulous American Tom Ripley (Dennis Hopper), learns of this and exploits Zimmermann’s illness for his own purposes. He introduces Jonathan to the underworld figure Minot (Gérard Blain), who offers to hire the terminally ill man as a professional hit man. He is to be paid appropriately for his work and thus enabled to leave something behind for his wife (Lisa Kreuzer) and their child. What does he have to lose, since he is going to die anyway?
A friendship develops between the two very different men, and this ultimately leads Ripley to intervene when Zimmermann proves incapable of carrying out an additional murder.
The cast of Wenders’s film includes not only the directors Dennis Hopper and Gérard Blain—many of the supporting roles of gangsters are also played by fellow directors, such as Hollywood legends Sam Fuller and Nicholas Ray, as well as Peter Lilienthal, Daniel Schmid and Jean Eustache.
Six years after Timothy Dalton's Licence To Kill, Pierce Brosnan walks the gunbarrel in a post-Soviet era GoldenEye.
When a powerful satellite system falls into the hands of Alec Trevelyan, AKA Agent 006 (Sean Bean), a former ally-turned-enemy, only James Bond (Pierce Brosnan) can save the world from an awesome space weapon that -- in one short pulse -- could destroy the earth! As Bond squares off against his former compatriot, he also battles Trevelyan's stunning ally, Xenia Onatopp (Famke Janssen), an assassin who uses pleasure as her ultimate weapon.
When small town Washington sheriff Will Teasle (Brian Dennehy) detains a vagrant drifter for resisting arrest, little does he realise that he has set in motion a series of events that bring mayhem and bloody reckoning to his community. The shabby vagrant is in fact former Green Beret John Rambo (Sylvester Stallone – ROCKY, COBRA, OVER THE TOP), a hero of the Vietnam War who has returned home to find America no longer wants him. Responding to brutal treatment from Teasle’s Deputies with sudden ferociousness, Rambo makes a daring escape from the town jail, steals a motorcycle and roars off towards the wilderness with the sheriffs not far behind.
Screening in 4K, FIRST BLOOD is the explosive action-thriller that started it all! A breathtaking portrayal of America at odds with itself.
A year before the first moon landing, Stanley Kubrick envisioned an outer space where vast spacecraft revolve weightlessly to the strains of Johann Strauss’s Blue Danube waltz. 2001 revolutionised the depiction of the cosmos on film, at the same time – with the HAL-9000 computer that fatally malfunctions during a mission to Jupiter – sounding a warning about unbridled technological advance.
Beginning with primordial apes discovering tools and climaxing with astronaut David Bowman (Keir Dullea) travelling beyond the limits of the known universe, Kubrick’s film was an intellectual (and psychedelic) event in the late 1960s. A ‘match cut’ which quickly replaces a bone thrown upwards by an ape with a similarly shaped spaceship floating through space, thereby compressing millennia of human evolution, is justly celebrated.
In one of Robert Bresson’s most admired, intriguing and influential films, resolute drifter Michel spends his days learning the art of pickpocketing and targeting the unsuspecting citizens of 1950s Paris.
Following his inevitable arrest (and almost immediate release) he begins to reflect on the morality of crime, spouting vague theories about exceptional individuals being above the law. Lost in another world, he rejects the support of his friends in favour of pickpocketing, and the only way he can seem to find a place for himself in society is to engineer a head-on collision with it.
PARIS, TEXAS is considered Wenders’ best-known and internationally most successful film. Celebrated by critics, it won a series of important international awards, including the Palme d’Or at Cannes.
This unconventional road movie is based on a script by Pulitzer Prize-winner Sam Shepard and tells the story of Travis (Harry Dean Stanton), a man who wanders out of Mexico and into Texas one day, in the blazing heat of the “Big Bend”. Travis does not speak a word. He also seems to have largely lost his memory. But he is driven by his wish to find his family again: his young wife Jane (Nastassja Kinski), whose life he seems to have placed in danger through his pathological jealousy, and his seven-year-old son Hunter (Hunter Carson). For four years Travis was thought to be dead. His brother Walt (Dean Stockwell) flies from LA to Texas to bring back his lost brother.
Walt and his wife Ann (Aurore Clément) have become Hunter’s foster parents. It is very difficult for the two of them to now give this role up again, especially when they learn that Travis wants to go out in search of Jane together with his son. They know nothing about her, except that she probably lives in Houston ...
In addition to the impressive performances by Harry Dean Stanton as Travis and Nastassja Kinski as Jane, PARIS, TEXAS has also become a cult film on account of the unique soundtrack by Ry Cooder.
Experience the original landmark motion picture that inspired a new generation of digital filmmakers and became a favourite of fans and critics across the world. Relive the electrifying thrills of TRON with an all-new, state-of-the-art digital restoration and enhanced high-definition sound. When a brilliant video game maker named Flynn (Jeff Bridges) hacks the mainframe of his ex-employer, he is beamed inside an astonishing digital world and becomes part of the very game he is designing.
Groundbreaking is the understatement of the century!
With a small film crew, Wim Wenders accompanied his old friend Ry Cooder, who had previously written the music for PARIS, TEXAS and THE END OF VIOLENCE, on a trip to Havana. Cooder wanted to record his material for Ibrahim Ferrer’s solo album at a studio there - following the first “Buena Vista Social Club” CD (which had not yet been released at that time). Wenders immersed himself in the world of Cuban music. Over the course of several months, he observed and accompanied the musicians - first at home in Havana and then, weeks later, in April 1998, on their trip to Amsterdam for the first public performance of the band (who had never played together outside a studio) and then, still later, in July 1998, to their triumphal concert in New York’s Carnegie Hall.
He thus followed the old heroes of the traditional Cuban Son music on their path from being completely forgotten to becoming world famous - within the period of just a few months. “I thought I’ll shoot a documentary,” Wenders said, “and here we were, about to witness a fairy tale that no one could have imagined in this form.”
The music documentary became a cinematic sensation and an international success. Along with an Academy Award nomination for the best documentary film, BUENA VISTA SOCIAL CLUB won this category of the European Film Awards, the German Film Prize in Gold, Germany’s Golden Camera and the Grand Prize for Film in Brazil as well as numerous other awards.
One of the key films of the New German Cinema, ALICE IN THE CITIES marked the emergence of Wim Wenders as one of the most distinctive European filmmakers of the 1970s. It is also widely accepted to be one of the director's most poignant films and the first to be shot partly in the United States.
Philip Winter, a journalist with writer's block, becomes the guardian of eight year-old Alice (Yella Rottlander) when her mother leaves the girl with him briefly at an American airport, only never to return. Back in Germany, an unlikely friendship develops between the two as they embark on a journey to find Alice's grandmother.
Through Rudiger Vogler's portrayal of the embittered Winter, Wenders presents a stark but witty account of the changing face of Europe, the onset of global consumerism and the influences of American pop culture.
Before anybody corrects us on the release year here... THE KING OF COMEDY was made and finished in 1982, and released in Iceland on 18 December of that year. But just to be clear, we're not showing the Icelandic language version!
Academy Award Winner Robert De Niro, Jerry Lewis and Sandra Bernhard give mesmerizing performances in this “chilling black comedy” (TV Guide’s Movie Guide) that explores the painfully high and often hilarious price of fame. Desperate to be a star, struggling stand-up comedian Rupert Pupkin (De Niro) enlists the aid of his fanatical friend Masha (Bernhard) to kidnap talk show host Jerry Langford (Lewis). The ransom? A guest spot for Pupkin. The results? Outrageous! THE KING OF COMEDY stands as Scorsese’s prophetic masterpiece which confronts a celebrity culture that “looks more disturbingly current with each passing year” (Lucia Bozzola, All Movie Guide).
Katherine Parkinson (THE IT CROWD) and John Heffernan (DRACULA) lead the cast in Shakespeare’s romcom of sun, sea and mistaken identity.
The legendary family-run Hotel Messina on the Italian Riveria has been visited by artists, celebrities and royalty. But when the owner’s daughter weds a dashing young soldier, not all guests are in the mood for love.
A string of scandalous deceptions soon surround not only the young couple, but also the adamantly single Beatrice and Benedick.
Following the award-winning success of National Theatre Live’s ROMEO & JULIET, TWELFTH NIGHT and ANTONY AND CLEOPATRA, director Simon Godwin returns with this irresistible comedy, broadcast live from the National Theatre stage.
KINGS OF THE ROAD is about a friendship between two men: Bruno, aka “King of the Road” (Rüdiger Vogler), who repairs film projectors and travels along the inner-German border in his truck, and the psychologist Robert, aka “Kamikaze” (Hanns Zischler), who is fleeing from his own past. When Robert drives his old VW straight into the Elbe river, he is fished out by Bruno. This is the beginning of their shared journey through a german no-man’s-land, a journey that leads them from the Lüneburg Heath to the Bavarian Forest.
Wenders began the film without a script. Instead there was a route that he had scouted out beforehand: all of the little towns along the Wall that still contained a movie theater in this era of cinematic mass extinction. The old moving van with the film projectors in the back becomes a metaphor of the history of film - it is no coincidence that the film is dedicated to Fritz Lang.
This “men’s story” also treats the themes of the absence of women, of loneliness and of post-war Germany. At one point Bruno says to Robert: “The Yankees have colonized our subconscious.”
A rollicking new comedy by Richard Bean (ONE MAN, TWO GUVNORS) and Oliver Chris (TWELFTH NIGHT).
After an aerial dog fight, Pilot Officer Jack Absolute flies home to win the heart of his old flame, Lydia Languish. Back on British soil, Jack’s advances soon turn to anarchy when the young heiress demands to be loved on her own, very particular, terms.
Emily Burns directs this spectacularly entertaining new version of Sheridan’s The Rivals. Featuring a cast including Caroline Quentin, Laurie Davidson, Natalie Simpson and Kelvin Fletcher.
Over the years, star Kurt Russell and master of horror John Carpenter have teamed up on a multitude of films (BIG TROUBLE IN LITTLE CHINA and ESCAPE FROM NEW YORK to name two) but of all their collaborations, 1982's horror/sci-fi amalgam THE THING surely tops the list.
A research team based out in the snowy wilds of Antarctica find themselves besieged by a terrifying, shape-shifting creature which has found its way into their base. When it becomes clear that the creature can take the form of any organism it so chooses, the tension within the team reaches breaking point any one of them could be... THE THING.
We began our 1982 season with a future noir (BLADE RUNNER), depicting a city overrun with "progress", so we felt it fitting to end the season with a documentary about the slow crawl of technology into urban life - and our dependence on it.
ko yaa nis qatsi (from the Hopi language) n., 1. crazy life 2. life in turmoil; 3. life out of balance; 4. life disintegrating; 5. a state of life that calls for another way of living.
Told without dialogue, narration, cast or characters, KOYAANISQATSI is a dizzying, hypnotic example of cinema set to an extraordinary score by Philip Glass. It contrasts natural beauty with a population ever more dependent on modern technology.
Shot on a low budget in New York City and the American South West, the film found support from Francis Ford Coppola where it found a larger audience and has gone on to become a cult classic.